If I switch showrunners and I get to stay on the show, I approach it like it's their show, and I'm here to write their music for them.

Sometimes I find bringing in my old ideas is just detrimental.

Tension, especially with regard to horror, is a very difficult thing to sustain in the big sense.

When you change showrunners, it's like getting divorced and getting remarried.

If I switch showrunners and I get to stay on the show, I approach it like it's their show, and I'm here to write their music for them.

I think the thing that music can do is be unsettling. It is abnormal - music that's perceived to be different in an unresolved or unusual way.

With television you are producing hours and hours of music and for film it is a shorter experience for both the audience and for you as a composer.